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Omnisphere 1
Reviewed By Novata [all]
October 17th, 2008
Version reviewed: 1.0.1e on Windows
Ok, so I get the privelage to review this synth first.
I will break this down into it's various components and then give my opinion on the whole synth.
1. Installation - When you get to install this beast, you will probably need to set aside a good four hours, depending on your DAW. It has a near 50GB library. It is easy to install, though I would recommend using internal storage preferably on a SATA drive. Once installed I recommend getting the update from Spectrasonics. There is an update button on the GUI. There are also the Atmosphere patches to install too.
2. Start up - This is quite a CPU intensive plugin, so it takes longer than your average synth to launch. Depending on your CPU, this could take up to 20 seconds, not good IMO. Hopefully this will be fixed. First launch requires the challenge/response licensing method.
3. Patches - There are 1000+ patches for instant use. These do not include the whole 50GB library either. So there are still a whole load of sounds that aren't used but are there for your own use. The patches are hugely diverse and range from a single layer synth to a dual layer sample based sound source. The categories are set into a perculiar hierarchy and not all patches are avaliable through this method. Not the most friendly function for patch searching even though you can do a manual search by typing in what you want. Though, this doesn't always get you the sounds you may be after. This could be better.
4. Sound quality - Overall, this is where Omnisphere wins. The sound that this synth can generate is very good indeed. Just load up the 'Tear your head off' patch (the first one) and play, then as you hold down the key, turn the Mod-wheel. Even without loading a sample into a layer, you can use the onboard oscillators to generate some fantastic analogue sounding patches.
5. Edit page - Beyond the simple view page and the visualiser there is the main edit page. This is the nuts and bolts of your patch creation. It has two layers, A and B. You can load a sample from the sound source library or you can use the synth mode whereby your sound is generated with the onboard oscillators. You can manipulate both in the same way and there are many ways to manipulate the sound. The modulation capabilities are extensive and can be assigned in many ways, up to 48 assignable mod settings per patch. For example, you can assign up to six LFO's to modulate the amp, filter, samplestart etc.. you can assign an LFO to another LFO if you want to vary it's speed or depth. You can change the velocity curve, the filter type and curve. Two filters per patch, HPF/LPF/BPF at different resolutions.
You then have the envelope section for which you can zoom into. This goes into the ADSR, Filter and four modulation envelopes for which you can draw your own curves or use the onboard selections. This is very easy to edit and very useful to change the whole shape of your sound. These are also assignable from the Modulation window.
There is graintable synthesis for sample sounds only, plus FM synthesis ring modulator wave shaping and multi. The multi has a unison mode or a fantastic harmonia mode whereby you can have an extra four oscillators per layer. Overall, the edit page is huge, deep and very user friendly. Amazing. 10/10.
6. Arpeggiator - This is very easy to use and has up to 32 steps for which the length, velocity, on/off on each can be set. The arpeggiator affects the entire patch, not just a layer. The speed can be set to only whole depths, for instance, 1/8 or 1/16th, you cannot set the speed to 1/8t or 1/16 .dot . The really amazing thing about the arp on this synth is the groove lock mode. Basically, if you have a midi file that runs over a bar or two, the arp will trigger on each note within that midi file, therefore it will change the style and feel of the arp to suit the rhythm of your song. This has been designed to work well with Stylus RMX. 9/10.
7. Multi mode - So, all the above can be applied to one patch for which you can have up to 8 in one Omnisphere instrument. This is where you realise the incredible power this synth has. You can have a basic stack mode whereby you play a note and 1 to 8 patches play at the same time. You can assign each patch to a different midi channel which is not stack mode.
In stack mode you can split the patches over the keyboard, or use a velocity crossfade or the modwheel crossfade. So, you can change the sound completely through the turn of your modwheel. Then you have live mode for which you can assign program changes to midi and then flick between patches on the fly or select multiple patches. 10/10
8. Effects - Each layer 1-4 fx, so each patch can have 1 to 12 fx. Plus multi has 4 aux*4fx and master out x 4fx. The effects are brilliant, ranging from chorus, delay, reverb, compressors distortion etc. Options are limitless. 10
Overall, this synth is incredible and takes a lifetime to explore. You won't be disappointed.Read Review
I will break this down into it's various components and then give my opinion on the whole synth.
1. Installation - When you get to install this beast, you will probably need to set aside a good four hours, depending on your DAW. It has a near 50GB library. It is easy to install, though I would recommend using internal storage preferably on a SATA drive. Once installed I recommend getting the update from Spectrasonics. There is an update button on the GUI. There are also the Atmosphere patches to install too.
2. Start up - This is quite a CPU intensive plugin, so it takes longer than your average synth to launch. Depending on your CPU, this could take up to 20 seconds, not good IMO. Hopefully this will be fixed. First launch requires the challenge/response licensing method.
3. Patches - There are 1000+ patches for instant use. These do not include the whole 50GB library either. So there are still a whole load of sounds that aren't used but are there for your own use. The patches are hugely diverse and range from a single layer synth to a dual layer sample based sound source. The categories are set into a perculiar hierarchy and not all patches are avaliable through this method. Not the most friendly function for patch searching even though you can do a manual search by typing in what you want. Though, this doesn't always get you the sounds you may be after. This could be better.
4. Sound quality - Overall, this is where Omnisphere wins. The sound that this synth can generate is very good indeed. Just load up the 'Tear your head off' patch (the first one) and play, then as you hold down the key, turn the Mod-wheel. Even without loading a sample into a layer, you can use the onboard oscillators to generate some fantastic analogue sounding patches.
5. Edit page - Beyond the simple view page and the visualiser there is the main edit page. This is the nuts and bolts of your patch creation. It has two layers, A and B. You can load a sample from the sound source library or you can use the synth mode whereby your sound is generated with the onboard oscillators. You can manipulate both in the same way and there are many ways to manipulate the sound. The modulation capabilities are extensive and can be assigned in many ways, up to 48 assignable mod settings per patch. For example, you can assign up to six LFO's to modulate the amp, filter, samplestart etc.. you can assign an LFO to another LFO if you want to vary it's speed or depth. You can change the velocity curve, the filter type and curve. Two filters per patch, HPF/LPF/BPF at different resolutions.
You then have the envelope section for which you can zoom into. This goes into the ADSR, Filter and four modulation envelopes for which you can draw your own curves or use the onboard selections. This is very easy to edit and very useful to change the whole shape of your sound. These are also assignable from the Modulation window.
There is graintable synthesis for sample sounds only, plus FM synthesis ring modulator wave shaping and multi. The multi has a unison mode or a fantastic harmonia mode whereby you can have an extra four oscillators per layer. Overall, the edit page is huge, deep and very user friendly. Amazing. 10/10.
6. Arpeggiator - This is very easy to use and has up to 32 steps for which the length, velocity, on/off on each can be set. The arpeggiator affects the entire patch, not just a layer. The speed can be set to only whole depths, for instance, 1/8 or 1/16th, you cannot set the speed to 1/8t or 1/16 .dot . The really amazing thing about the arp on this synth is the groove lock mode. Basically, if you have a midi file that runs over a bar or two, the arp will trigger on each note within that midi file, therefore it will change the style and feel of the arp to suit the rhythm of your song. This has been designed to work well with Stylus RMX. 9/10.
7. Multi mode - So, all the above can be applied to one patch for which you can have up to 8 in one Omnisphere instrument. This is where you realise the incredible power this synth has. You can have a basic stack mode whereby you play a note and 1 to 8 patches play at the same time. You can assign each patch to a different midi channel which is not stack mode.
In stack mode you can split the patches over the keyboard, or use a velocity crossfade or the modwheel crossfade. So, you can change the sound completely through the turn of your modwheel. Then you have live mode for which you can assign program changes to midi and then flick between patches on the fly or select multiple patches. 10/10
8. Effects - Each layer 1-4 fx, so each patch can have 1 to 12 fx. Plus multi has 4 aux*4fx and master out x 4fx. The effects are brilliant, ranging from chorus, delay, reverb, compressors distortion etc. Options are limitless. 10
Overall, this synth is incredible and takes a lifetime to explore. You won't be disappointed.Read Review
